Jan. 11, 2025

Make Believe Ballroom - 1/10/25 Edition

On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – a look at the history of record speeds, a visit to one of the...

Show Notes
Transcript

WEBVTT

1
00:00:12.800 --> 00:00:18.440
It's make believe ballroom time. Put all your cares away.

2
00:00:20.359 --> 00:00:24.280
All the bands are here to bring good cheer your way.

3
00:00:26.160 --> 00:00:33.960
It's make believe ballroom time and free to everyone. It's

4
00:00:34.039 --> 00:00:37.920
no time to friend your Dalis said Bamba.

5
00:00:40.399 --> 00:00:40.799
Yours.

6
00:00:40.920 --> 00:00:48.039
Close your eyes and visualize in your solitude. Your favorite

7
00:00:48.200 --> 00:00:51.920
bands are on this dance and mister Miller, but you're

8
00:00:52.000 --> 00:00:56.799
in the mood. It's make believe ballroom time. We are

9
00:00:57.039 --> 00:01:03.399
a sweet romance as you make the bottom. Come on, Jill,

10
00:01:03.640 --> 00:01:04.400
last dance.

11
00:01:04.519 --> 00:01:10.480
Last, Hi, folks, I'm Jeff Presler, turning on the lights

12
00:01:10.519 --> 00:01:13.439
of the make Believe ballroom men, welcoming you into my

13
00:01:13.560 --> 00:01:17.680
crystal studio for another program of the great big band

14
00:01:17.760 --> 00:01:21.719
hits of the nineteen thirties and nineteen forties. Whether you're

15
00:01:21.719 --> 00:01:25.280
one of my longtime listeners or maybe a new listener.

16
00:01:25.400 --> 00:01:29.560
On public, community or university radio stations across the US

17
00:01:30.040 --> 00:01:33.159
as well as in the United Kingdom, please grab your

18
00:01:33.239 --> 00:01:37.359
dance ticket. It's free and let's listen to some wonderful

19
00:01:37.480 --> 00:01:45.640
big band jazz, swing, blues, and boogie woogie classics. Hello world,

20
00:01:45.680 --> 00:01:49.000
and from coast to coast on stations like Jazz ninety

21
00:01:49.040 --> 00:01:53.359
point one, WGMC in Rochester, New York, and other fine

22
00:01:53.480 --> 00:01:58.599
radio affiliates like our newest affiliate, WBRS Mix one seven

23
00:01:58.680 --> 00:02:02.200
point nine. Welcome you all to the Make Believe Ballroom,

24
00:02:02.400 --> 00:02:06.599
the one, the only, the original Make Believe Ballroom broadcast

25
00:02:06.680 --> 00:02:11.280
on the radio since nineteen hundred and thirty five. And

26
00:02:11.479 --> 00:02:15.039
I've played a lot of Woody Herman on this program

27
00:02:15.159 --> 00:02:19.000
over the years, but here is one shame on me

28
00:02:19.840 --> 00:02:23.639
that I never offered to you for your listening pleasure.

29
00:03:46.479 --> 00:05:29.959
S That was Herman at the Sherman Woodie Herman and

30
00:05:30.040 --> 00:05:33.959
his Orchestra on Decca Records, recorded in the Big Apple

31
00:05:34.199 --> 00:05:40.600
April tenth, nineteen forty. And now on the Ballroom. You know,

32
00:05:40.639 --> 00:05:43.319
why don't I flip this old seventy eight over to

33
00:05:43.399 --> 00:06:45.920
play the B side, Come Along.

34
00:07:54.040 --> 00:07:57.720
Nod a.

35
00:08:36.879 --> 00:08:41.559
Woody Herman and his Orchestra Jukin recorded as the B

36
00:08:41.799 --> 00:08:46.879
side of Decca Records Hermann at the Sherman on April tenth,

37
00:08:47.080 --> 00:08:51.679
nineteen forty. Let me play one more here in this

38
00:08:51.840 --> 00:08:56.679
segment because I always loved this title, and certainly the

39
00:08:56.720 --> 00:09:15.679
seven musicians who played it. He's a gyp see from Poughkeepsie.

40
00:09:47.440 --> 00:09:53.200
He's a gypsy from the kids see in his trailer.

41
00:09:53.399 --> 00:09:58.919
He's a traveler roomio. He can't steal a kiss in

42
00:09:59.039 --> 00:10:03.559
renal and a harden bowling green. What it takes to

43
00:10:03.600 --> 00:10:07.039
do on veno he can do on castoline.

44
00:10:07.360 --> 00:10:08.879
He's a lover.

45
00:10:10.120 --> 00:10:16.000
Under cover, stops at louse on his way to visit floor.

46
00:10:17.960 --> 00:10:22.279
He's a flaming torch on every part from Jersey to Mexico.

47
00:10:23.120 --> 00:10:26.879
He's a gypsy from the Gypsy, a traveling.

48
00:10:26.679 --> 00:10:27.399
Roamme of.

49
00:11:50.960 --> 00:11:55.600
He's a gypsy from Poughkeepsie. Recorded on Victor Records in

50
00:11:55.679 --> 00:11:59.960
their New York City Studio number two on April fifteenth.

51
00:12:00.000 --> 00:12:03.600
It's nineteen thirty seven and performed by the legendary Tommy

52
00:12:03.639 --> 00:12:06.320
Dorsey and his clam Bake seven with a vocal by

53
00:12:06.600 --> 00:12:10.960
Edith Wright. And right here I am Jeff Bresler, and

54
00:12:11.240 --> 00:12:14.320
you are listening to the Make Believe Ballroom and Friends.

55
00:12:14.759 --> 00:12:17.879
Since I played two Bank to Bank by Woody Herman,

56
00:12:18.360 --> 00:12:21.240
why not play a double dip by Tommy Dorsey and

57
00:12:21.240 --> 00:12:29.399
it's clam Bake seven, Hi and balace.

58
00:12:29.759 --> 00:12:31.840
What's new? Nah, Mutch?

59
00:12:32.399 --> 00:12:36.159
Not much? Well, Hello, Edith, what's new with you? I've

60
00:12:36.200 --> 00:12:37.840
got a new dance. I'd like to show it.

61
00:12:37.879 --> 00:12:38.200
To you.

62
00:12:38.600 --> 00:12:42.559
If you've got rhythm to burn, here's a dance. It's

63
00:12:42.559 --> 00:12:45.039
easy to learn if you don't, and your name is

64
00:12:45.159 --> 00:12:46.720
much if you don't.

65
00:12:46.759 --> 00:12:48.600
Your social course.

66
00:12:48.960 --> 00:12:52.960
Everybody's learning how to do the big Apple, the big Apple.

67
00:12:53.879 --> 00:12:55.279
And it isn't very hard to.

68
00:12:55.240 --> 00:12:59.480
Do the big Apple, the big Apple. Keen can do it.

69
00:12:59.639 --> 00:13:03.039
Justice to the big apple, the big apple.

70
00:13:03.960 --> 00:13:07.960
Everybody's learning how to do that brand new apple down.

71
00:13:08.600 --> 00:13:12.639
They say, an apple a day will keep.

72
00:13:12.480 --> 00:13:13.559
The doctor away.

73
00:13:13.759 --> 00:13:16.039
Hey, hey, it's.

74
00:13:15.879 --> 00:13:20.320
Easy to dance your cares away. Everybody's learning how to

75
00:13:20.360 --> 00:13:23.159
do the big Apple, the big apple.

76
00:13:24.120 --> 00:13:25.440
Come on, learn to do.

77
00:13:25.600 --> 00:13:27.120
That apple dance.

78
00:13:28.480 --> 00:13:31.440
First you gather around, then you.

79
00:13:31.720 --> 00:13:35.440
Come the ground, do a bit of this is a

80
00:13:35.480 --> 00:13:37.159
bit of that, and then.

81
00:13:38.840 --> 00:13:44.120
Do a fred a staff hands up the air truck

82
00:13:44.200 --> 00:13:44.759
around them.

83
00:13:44.879 --> 00:13:46.960
Then you start riding again.

84
00:13:48.360 --> 00:13:54.840
You must do anything that you know. The most important

85
00:13:55.240 --> 00:13:56.480
thing is just.

86
00:13:56.519 --> 00:14:44.440
To let yourself phone.

87
00:14:23.840 --> 00:14:26.240
See this once an apple you're talking about.

88
00:14:26.519 --> 00:14:27.480
It's a new dance.

89
00:14:27.559 --> 00:14:32.559
They're all raving about your truck on down and susan cue,

90
00:14:33.960 --> 00:14:40.159
then shag a bit and some posing too, a Lindy hot.

91
00:14:41.480 --> 00:14:45.559
You pick a lot, put them all together, and what

92
00:14:45.720 --> 00:14:46.279
have you got?

93
00:14:46.320 --> 00:14:49.639
The big Apple the Big Apple.

94
00:14:51.399 --> 00:14:56.840
Well my mind, yes, yes, my.

95
00:15:02.159 --> 00:15:06.440
A musical salute to a nineteen thirty seven National dance

96
00:15:06.480 --> 00:15:11.200
craze on Victor the Big Apple by Tommy Dorsey and

97
00:15:11.240 --> 00:15:16.200
his Clambake seven vocal by Edith Wright and chorus, recorded

98
00:15:16.240 --> 00:15:21.360
in New York City, April thirteenth, nineteen thirty seven. And

99
00:15:21.440 --> 00:15:24.960
now I wish to direct you to an article I

100
00:15:25.000 --> 00:15:28.519
read a couple of days ago in cash Box, dated

101
00:15:28.720 --> 00:15:34.600
May the fifth, nineteen fifty six. And as you could see,

102
00:15:35.080 --> 00:15:37.440
I'm a tad behind in my reading.

103
00:15:38.639 --> 00:15:38.799
Now.

104
00:15:38.879 --> 00:15:43.360
Cash Box was a music industry trade magazine, and it

105
00:15:43.440 --> 00:15:47.120
was originally published weekly from nineteen forty two to nineteen

106
00:15:47.679 --> 00:15:52.840
ninety six. And I think I'm almost sure there's still

107
00:15:53.000 --> 00:15:57.879
an online version of that magazine. But the article that

108
00:15:58.000 --> 00:16:02.039
I read dealt with the demand guy of seventy eight

109
00:16:02.240 --> 00:16:08.720
RPM records. Of course, the vast, vast, vast majority, if

110
00:16:08.759 --> 00:16:14.080
not almost every record played here on the Ballroom was

111
00:16:14.200 --> 00:16:19.480
recorded as seventy eights, but that changed and evolved to

112
00:16:19.799 --> 00:16:25.039
forty five rpm and thirty three to third rpm. The

113
00:16:25.120 --> 00:16:29.399
story takes a few minutes to read, but I do

114
00:16:29.480 --> 00:16:31.759
hope you find it interesting, and believe me, it will

115
00:16:31.840 --> 00:16:36.639
lead to a number of big band classics being played

116
00:16:36.720 --> 00:16:41.320
for the vast majority of the remainder of the program.

117
00:16:41.919 --> 00:16:45.600
The article reads, and it's titled Seventy eights are on

118
00:16:45.679 --> 00:16:49.919
the way out. Seventy eight RPM records may be a

119
00:16:50.000 --> 00:16:53.720
thing of the past sooner than we think. The conversion

120
00:16:53.759 --> 00:16:57.639
of forty five rpm has gone on steadily until today's

121
00:16:57.679 --> 00:17:02.000
Seventy eights are used almost ex exclusively by people who

122
00:17:02.039 --> 00:17:06.119
have old model phonographs, but as far as the trade

123
00:17:06.200 --> 00:17:10.240
is concerned, seventy eights will soon be a relic. When

124
00:17:10.279 --> 00:17:13.799
the change in speeds was introduced soon after the war,

125
00:17:14.400 --> 00:17:17.960
it was difficult to decide which would win out forty

126
00:17:18.000 --> 00:17:21.640
fives or thirty three in a thirds, but after a

127
00:17:21.680 --> 00:17:25.799
couple of years of experimenting, it finally became clear that

128
00:17:25.920 --> 00:17:29.920
thirty three and the third was the speed for albums,

129
00:17:30.359 --> 00:17:34.160
while forty five would be the future speed for singles.

130
00:17:35.279 --> 00:17:38.799
In the album business, seventy eights have all but disappeared.

131
00:17:39.039 --> 00:17:43.359
Thirty three and a third has proved so superior that

132
00:17:43.440 --> 00:17:48.079
it has become the accepted speed for albums, But in

133
00:17:48.160 --> 00:17:52.720
the single business, seventy eights have lingered on, not because

134
00:17:52.880 --> 00:17:57.200
they are better than forty fives, but because there were

135
00:17:57.359 --> 00:18:01.160
so many old machines still in exist stance that the

136
00:18:01.200 --> 00:18:05.160
record companies simply had to put out a product that

137
00:18:05.240 --> 00:18:08.799
could be bought by those people who still had not

138
00:18:08.960 --> 00:18:15.640
changed equipment. Probably the greatest impetus, however, to the conversion

139
00:18:15.880 --> 00:18:20.720
to forty five, was the decision of most jukebox firms

140
00:18:20.759 --> 00:18:24.039
to make all new equipment on a forty five level.

141
00:18:24.799 --> 00:18:28.519
For the past several years, the change to forty five

142
00:18:29.079 --> 00:18:35.960
has been universal among automatic phonograph manufacturers. This has taken

143
00:18:36.079 --> 00:18:41.920
place not because these manufacturers have any interest in promoting

144
00:18:41.960 --> 00:18:46.720
one speed over another, but simply because, from the economics

145
00:18:46.759 --> 00:18:51.279
of the business, forty fives have a multitude of advantages

146
00:18:51.480 --> 00:18:56.920
over seventy eights. They last longer, play better, are easier

147
00:18:57.000 --> 00:19:03.039
to store, and are more economical all around. Therefore, as

148
00:19:03.119 --> 00:19:07.200
far as the jukebox industry is concerned, the change to

149
00:19:07.319 --> 00:19:13.759
forty five has been inevitable. Just as jukebox operators today

150
00:19:14.039 --> 00:19:18.880
prefer forty five rpm, so does the general public find

151
00:19:18.880 --> 00:19:22.640
at a better speed. For the very same reasons. No

152
00:19:22.759 --> 00:19:26.079
longer do they have to worry about dropping a record

153
00:19:26.240 --> 00:19:31.000
or using wall after wall to store their records. Forty

154
00:19:31.039 --> 00:19:36.920
five solve many of their disc problems. As the movement

155
00:19:37.000 --> 00:19:41.039
has developed, it has spread to all users of records.

156
00:19:41.559 --> 00:19:44.480
A couple of years ago there was a great hassle

157
00:19:44.559 --> 00:19:49.160
among radio stations when the record companies decided to change

158
00:19:49.200 --> 00:19:53.880
their samples to forty five, but inevitably, almost all radio

159
00:19:53.960 --> 00:19:57.480
stations adjusted their equipment to be able to use forty

160
00:19:57.519 --> 00:20:00.799
five RPM discs, And now it is it is doubtful

161
00:20:01.000 --> 00:20:04.440
that any would want to change back even if they could.

162
00:20:05.559 --> 00:20:10.000
Now that users of records are satisfied about the qualities

163
00:20:10.079 --> 00:20:13.839
of forty five, the final blow to seventy eight's is

164
00:20:13.920 --> 00:20:17.880
coming from the record companies themselves, who for a long

165
00:20:17.960 --> 00:20:22.079
time have been diminishing the production of seventy eights and

166
00:20:22.200 --> 00:20:26.640
are now determined to eliminate them altogether. It won't be

167
00:20:26.759 --> 00:20:31.440
long now the single future belongs to forty five RPMs.

168
00:20:32.000 --> 00:20:36.720
Seventy eights are on the way out. That from cash

169
00:20:36.799 --> 00:20:43.960
Box Magazine, dated May fifth, nineteen fifty six. I hope

170
00:20:44.000 --> 00:20:48.039
you found that story interesting. Obviously, the history of recording

171
00:20:48.079 --> 00:20:52.160
and producing records is an integral part of the overall

172
00:20:52.359 --> 00:20:57.519
music industry history. So as I stated, the vast, vast

173
00:20:57.640 --> 00:21:00.680
majority of records I play Here in the Ballroom seventy

174
00:21:00.720 --> 00:21:05.720
eight rpm origins. But did any big bands record on

175
00:21:05.880 --> 00:21:09.400
forty five And the answer, of course is yes.

176
00:22:00.160 --> 00:22:00.240
A.

177
00:22:04.240 --> 00:24:20.599
Little art a word, one more time, Let's ride one

178
00:24:20.720 --> 00:24:21.319
more once.

179
00:24:57.000 --> 00:25:01.000
That was April in Paris by Count Basie and his orchestra,

180
00:25:01.079 --> 00:25:06.359
And that old nineteen thirty song hit was reborn with

181
00:25:06.640 --> 00:25:10.880
the release of the just heard famous New Basi treatment

182
00:25:11.119 --> 00:25:16.400
of the song. The tune was recorded in forty five

183
00:25:16.559 --> 00:25:22.119
RPM by Clef Records and was released in nineteen fifty six.

184
00:25:23.200 --> 00:25:25.880
So how about one more big band record that was

185
00:25:25.920 --> 00:25:31.079
produced in forty five rpm, then one of the greatest

186
00:25:31.119 --> 00:25:35.240
selling thirty three and the third albums of all time

187
00:25:35.960 --> 00:25:40.880
that featured well. It featured a virtual cornucopia of big

188
00:25:40.920 --> 00:25:48.480
band gems.

189
00:25:52.519 --> 00:26:08.839
Jy be sweet, is your name allways? Spird Han you.

190
00:26:09.039 --> 00:26:13.920
Fum never ser.

191
00:26:15.400 --> 00:26:17.240
If by the one?

192
00:26:18.599 --> 00:26:20.319
And when you're mind.

193
00:26:21.880 --> 00:26:27.519
You soon find out just what love.

194
00:26:29.400 --> 00:26:42.599
Is all about. Jerry Jerry, I'll make a bed, Jerry Jerry,

195
00:26:43.640 --> 00:26:44.400
I'll get.

196
00:26:44.200 --> 00:27:20.480
You yet, if I'm the world, I'll hang around.

197
00:27:21.960 --> 00:27:23.519
To you grow up.

198
00:27:25.480 --> 00:27:26.960
And settled down.

199
00:27:29.599 --> 00:27:39.759
Cherry, Why what's on a screen? Cherry said?

200
00:27:51.880 --> 00:27:56.880
We just heard? Harry James Popular nineteen forties instrumental Cherry

201
00:27:57.359 --> 00:28:01.480
here produced by Coral Records as a forty five RPM

202
00:28:01.519 --> 00:28:06.799
recording featuring Les Brown and his band of Renown and

203
00:28:06.880 --> 00:28:12.559
with vocals by the Lancers, recorded in nineteen fifty five.

204
00:28:13.359 --> 00:28:16.480
I'm Jeff Bresler, and you're listening to the Make Believe Ballroom.

205
00:28:16.519 --> 00:28:19.680
If you have a comment or request, you can email

206
00:28:19.720 --> 00:28:23.119
me at Jeff at MakeBelieve Ballroom Radio dot com. That's

207
00:28:23.200 --> 00:28:26.319
Jeff at MakeBelieve Ballroom Radio dot com. And I don't

208
00:28:26.359 --> 00:28:29.119
know if we could get in any of the stack

209
00:28:29.160 --> 00:28:32.039
of requests I have here on the console in the

210
00:28:32.079 --> 00:28:36.680
Crystal studio today, but I will certainly try at the

211
00:28:36.920 --> 00:28:40.559
end of the program. And now, friends, we have played

212
00:28:40.880 --> 00:28:44.759
seventy eight records by Woody Herman and Tommy Dorsey at

213
00:28:44.759 --> 00:28:47.480
the top of the show. We then switched to a

214
00:28:47.480 --> 00:28:51.240
couple of forty fives by Count Basie and Less Brown.

215
00:28:52.000 --> 00:28:54.680
And now let me move on to thirty three to

216
00:28:54.759 --> 00:28:58.839
third RPMs. As I read to you in the cash

217
00:28:58.880 --> 00:29:03.440
Box article, three and a thirds were well they were

218
00:29:03.480 --> 00:29:08.599
best suited for LP albums long playing albums. In nineteen

219
00:29:08.839 --> 00:29:13.079
sixty five, as successful, thirty three and a third box

220
00:29:13.119 --> 00:29:20.079
set of albums was released, and that featured masterfully restored

221
00:29:20.200 --> 00:29:25.920
versions of the original seventy eights. The Great Band Era,

222
00:29:26.640 --> 00:29:31.559
as it was known, was a compilation album featuring swing

223
00:29:31.680 --> 00:29:36.039
music from nineteen thirty six to nineteen forty five. Now,

224
00:29:36.079 --> 00:29:41.640
for the seasoned out there, you may remember Reader's Digest.

225
00:29:41.839 --> 00:29:46.279
Readers Digest magazine still published today. They used to have

226
00:29:46.359 --> 00:29:51.279
a record club, So Readers Digest released the album in

227
00:29:51.400 --> 00:29:57.079
nineteen sixty five as a ten LP album box set.

228
00:29:57.160 --> 00:30:01.440
Now I'm going to share some of the recordings with

229
00:30:01.480 --> 00:30:05.720
you from that ten set album, and in between give

230
00:30:05.759 --> 00:31:13.160
you some facts about this historic LP set.

231
00:31:15.640 --> 00:31:19.720
Mister bar don't you know things have changed?

232
00:31:21.519 --> 00:31:22.799
You're behind time with.

233
00:31:23.000 --> 00:31:29.519
The melody you always sing. All of birds have their

234
00:31:29.599 --> 00:31:31.319
songs rer ring.

235
00:31:33.400 --> 00:31:34.359
Better get smart.

236
00:31:34.440 --> 00:31:36.400
What you gotta do today is swing.

237
00:31:38.240 --> 00:31:40.119
I was talking to the whipper will.

238
00:31:40.839 --> 00:31:43.519
He says, you've gotta call the trail.

239
00:31:45.200 --> 00:31:45.319
By.

240
00:31:45.519 --> 00:31:48.200
Why you're gonna swing to night?

241
00:31:50.039 --> 00:31:52.000
I was talking to the mocking bird.

242
00:31:52.680 --> 00:31:55.319
He says you are the worst he's heard.

243
00:31:56.960 --> 00:31:57.119
By.

244
00:31:57.319 --> 00:31:59.880
Why you're gonna swing to night?

245
00:32:02.759 --> 00:32:06.079
Even the owl tells me a foul thing and a

246
00:32:06.319 --> 00:32:06.960
lalla by.

247
00:32:07.160 --> 00:32:09.880
No, don't be a bringdown.

248
00:32:10.119 --> 00:32:12.359
If you can swing down give me those.

249
00:32:12.279 --> 00:32:15.359
High know there's a lot of talk about your file

250
00:32:15.960 --> 00:32:18.279
and they're saying you're off the call.

251
00:32:20.359 --> 00:32:24.680
Begas, mister b Teggs, you can.

252
00:32:24.799 --> 00:32:26.559
Follow me if by.

253
00:32:29.440 --> 00:32:30.960
We're gonna break it up tonight.

254
00:33:04.559 --> 00:33:08.160
Originally recorded on Victor Records on September the sixth, nineteen

255
00:33:08.240 --> 00:33:11.759
thirty seven, Bob White by Benny Goodman and his Orchestra,

256
00:33:11.880 --> 00:33:15.799
with Martha Tilton providing the vocal, and heard in thirty

257
00:33:15.880 --> 00:33:19.960
three and a third on the Reader's digest album The

258
00:33:20.119 --> 00:33:25.319
Great Band Era. Another factoid about this album that you

259
00:33:25.400 --> 00:33:30.519
may find interesting. In nineteen eighty eight, the Recording Industry

260
00:33:30.559 --> 00:33:36.480
Association of America certified nine million sales of the album,

261
00:33:36.839 --> 00:33:40.359
that making it one of the top selling albums ever

262
00:33:40.799 --> 00:33:45.440
released in the United States. Let me choose another one

263
00:33:45.599 --> 00:34:00.559
for you, row.

264
00:34:01.680 --> 00:34:18.760
Bone, Now it's your turn to cry over asy road

265
00:34:19.159 --> 00:34:20.840
as a turning.

266
00:34:25.719 --> 00:34:42.280
That's one thing that you learn. A crown boy, A

267
00:34:42.320 --> 00:34:55.760
lot of food like to be now found to us just.

268
00:34:55.880 --> 00:35:03.280
A little bit glure, I found the hole.

269
00:35:04.559 --> 00:35:06.480
Just a little bit.

270
00:35:07.079 --> 00:35:13.920
To I crowed boy.

271
00:35:17.800 --> 00:35:18.920
Now it's your.

272
00:35:18.960 --> 00:36:51.960
Turn to cry over me over, Oh crow Now it's

273
00:36:52.079 --> 00:36:53.280
your time.

274
00:36:53.599 --> 00:36:54.760
To crawl.

275
00:36:56.079 --> 00:36:57.199
Over me.

276
00:37:05.000 --> 00:37:08.639
Originally recorded as a Victor seventy eight RPM. I Cried

277
00:37:08.760 --> 00:37:12.039
for You Bunny Berrigan and his Orchestra, with a vocal

278
00:37:12.079 --> 00:37:16.039
by Kathleen Lane, and released as a restored thirty three

279
00:37:16.079 --> 00:37:19.599
and a third on the Reader's Digest album set The

280
00:37:19.679 --> 00:37:25.039
Great Band Era. Now Readers Digest sent out a free

281
00:37:25.039 --> 00:37:32.199
promotional record before releasing the Great Band Era album. It

282
00:37:32.280 --> 00:37:37.280
was voiced by vocalist and bandleader Vaughan Monroe, and the

283
00:37:37.679 --> 00:37:42.519
record boasted that in the Great Band Era RCA, Victor

284
00:37:42.719 --> 00:37:47.760
sound engineers had removed all the irritating noise and scratchiness

285
00:37:47.760 --> 00:37:51.440
that was always present on the original records, even when

286
00:37:51.440 --> 00:37:57.000
they were brand new. Now that record, the Monroe promotional

287
00:37:57.280 --> 00:38:01.480
was made of paper so it could be sent in

288
00:38:01.559 --> 00:38:04.079
the mail. Now, I've talked about the rise and fall

289
00:38:04.119 --> 00:38:08.039
of paper records of the early nineteen thirties. Here in

290
00:38:08.079 --> 00:38:12.440
the Ballroom, So a strange contradiction that a low tech

291
00:38:12.679 --> 00:38:16.599
paper record would be used to promote a high tech

292
00:38:16.840 --> 00:38:19.079
thirty three and a third.

293
00:38:25.320 --> 00:38:28.679
Taking a chum song, low.

294
00:39:23.320 --> 00:39:26.960
And here come those happy, go lucky three k debts.

295
00:39:29.239 --> 00:39:34.079
Here I go again, I hear the trumpets blow again,

296
00:39:35.280 --> 00:39:41.440
all a glow again, taking a chance on love. Here

297
00:39:41.920 --> 00:39:49.079
I Slide again, About to take that ride again, Storylide again,

298
00:39:49.760 --> 00:39:54.000
Taking a Chance on Love. I thought that cards were

299
00:39:54.039 --> 00:39:59.480
a frame up. I never would try, But now I'm

300
00:39:59.559 --> 00:40:05.280
taking the game of Bandeace of Hearts is high.

301
00:40:05.320 --> 00:40:06.960
Things are mending.

302
00:40:07.079 --> 00:40:11.679
Now I see a rainbow blending. Now we'll have a

303
00:40:11.840 --> 00:40:15.400
happy ending now. Taking a Chance on.

304
00:40:15.519 --> 00:40:41.239
The where.

305
00:41:14.000 --> 00:41:17.760
Originally recorded on Victor and then restored for the Great

306
00:41:17.920 --> 00:41:22.280
Band Era recording Take a Chance on Love by Swinging

307
00:41:22.400 --> 00:41:26.119
Sway with Sammy Kay vocal by the Three K Debts

308
00:41:26.800 --> 00:41:31.000
and recorded in New York City November twelfth, nineteen forty.

309
00:41:33.119 --> 00:41:35.880
The box set The Great Band Era Believe It or

310
00:41:35.960 --> 00:41:39.480
Not was one of the first LP releases to introduce

311
00:41:39.559 --> 00:41:44.159
the concept of audio restoration to the music listening public.

312
00:41:45.000 --> 00:41:47.239
And as I mentioned to you a few minutes ago,

313
00:41:47.320 --> 00:41:51.599
a free promotional paper record was sent in the mail

314
00:41:51.760 --> 00:41:56.679
to Reader's Digest subscribers introducing the set, and as I mentioned,

315
00:41:56.719 --> 00:42:00.800
Vain Monroe hosted that record and he presented on it

316
00:42:00.880 --> 00:42:04.199
before and after versions of one of the songs to

317
00:42:04.239 --> 00:42:09.360
demonstrate what had been done enhance the sound. Has described

318
00:42:09.360 --> 00:42:12.639
in a booklet that accompanied the records. Each song was

319
00:42:12.679 --> 00:42:17.280
electronically treated to remove surface noises as well as ticks

320
00:42:17.800 --> 00:42:21.679
and pops, and they pretty much were able to accomplish

321
00:42:21.679 --> 00:42:24.920
that with this album. Of course, now it's taken for

322
00:42:25.000 --> 00:42:27.920
granted that when I play records here on the ballroom,

323
00:42:28.679 --> 00:42:32.760
you're going to get a clean sound. Noise restoration, obviously,

324
00:42:33.639 --> 00:42:38.679
is so common now that literally a child can restore

325
00:42:38.840 --> 00:42:44.400
or fix poor sound with a number of easily available

326
00:42:45.400 --> 00:42:49.920
audio restoration programs. Believe me, if I can do that,

327
00:42:50.039 --> 00:42:54.079
if I can restore sound, anyone can. But back in

328
00:42:54.159 --> 00:42:58.519
nineteen sixty eight, that was certainly revolutionary. Let me play

329
00:42:58.559 --> 00:44:10.480
another one of those revolutionary songs from the album.

330
00:44:10.920 --> 00:44:16.360
I have eyes to see with, but they see only

331
00:44:17.800 --> 00:44:22.920
for you have eyes that put the very starts to shade.

332
00:44:25.920 --> 00:44:31.440
I have lips to sap with. What else am to

333
00:44:31.639 --> 00:44:36.719
do when you have lips that fill my very soul

334
00:44:37.199 --> 00:44:38.400
with flame.

335
00:44:40.639 --> 00:44:41.199
To night?

336
00:44:42.400 --> 00:44:48.880
You'll need to me in life right Thursday. But yore

337
00:44:50.079 --> 00:44:54.360
so dear to me, I could see you even miles

338
00:44:54.719 --> 00:45:00.800
way before I have asked to see w And yet

339
00:45:00.920 --> 00:45:07.280
when we're a pa dack, close my eyes and see with.

340
00:45:07.159 --> 00:46:24.280
My I have eyes by Artie Shaw and His Orchestra,

341
00:46:24.360 --> 00:46:27.880
vocal by Helen Forrest, recorded in New York City, September

342
00:46:27.920 --> 00:46:31.199
the twenty seventh, nineteen thirty eight, And I'm pretty sure

343
00:46:32.400 --> 00:46:36.840
that was Helen Forrest's debut release with Artie Shaw, and

344
00:46:37.119 --> 00:46:41.599
here presented as a cut from the Readers Digest thirty

345
00:46:41.599 --> 00:46:45.679
three to third LP set The Great Band Era Folks.

346
00:46:45.679 --> 00:46:50.159
Over one hundred songs were recorded for This Reader's Digest

347
00:46:50.280 --> 00:46:53.360
thirty three and a third multiple record collections. So let

348
00:46:53.400 --> 00:46:56.880
me see if we can play at least a couple more.

349
00:47:00.199 --> 00:47:13.519
There's a legend in real.

350
00:47:15.440 --> 00:47:17.920
About a girl who's quite a.

351
00:47:18.039 --> 00:47:25.440
Dreams, and so I went to see till I landed

352
00:47:25.760 --> 00:47:32.599
in reel. I thought the tale was just a bit extreme,

353
00:47:35.360 --> 00:47:42.039
but I'm forced to agree.

354
00:47:49.400 --> 00:47:50.880
And Jury.

355
00:47:54.119 --> 00:48:03.159
She is all the claim, with herries of night and

356
00:48:03.360 --> 00:48:06.320
lips as bright as flayed.

357
00:48:08.960 --> 00:48:23.719
Tanjury when she thenss bar samey her stay and cabrille

358
00:48:24.880 --> 00:48:25.880
to sig.

359
00:48:28.920 --> 00:48:37.679
And I'll see tolls to TENZERI.

360
00:48:39.119 --> 00:48:51.159
Raised in every bar across the Argentea. Yes she has

361
00:48:51.320 --> 00:48:57.119
them all on the run, but her heart.

362
00:48:56.239 --> 00:48:58.360
Belongs to just rid.

363
00:49:01.400 --> 00:49:03.000
Lost times.

364
00:49:29.119 --> 00:49:35.320
Yes she has them all on the ro, but her.

365
00:49:35.280 --> 00:49:41.039
Heart belongs to just one. Her heart be.

366
00:49:41.280 --> 00:49:42.159
Holls to.

367
00:49:44.039 --> 00:49:45.280
And read.

368
00:49:54.239 --> 00:49:57.320
That was Tangerine by Vaughon Monroe and his Orchestra vocal

369
00:49:57.360 --> 00:50:01.760
by Vaughan and originally recorded as a seventy eight RPM

370
00:50:01.920 --> 00:50:06.599
four Bluebird Records, And how can I discuss vae Monroe's

371
00:50:06.639 --> 00:50:11.920
involvement in the Reader's digest r c A collaboration without

372
00:50:11.960 --> 00:50:13.679
playing one of his heads.

373
00:51:00.280 --> 00:51:03.840
You're as pleasant as the morning and refreshing as the rain.

374
00:51:04.599 --> 00:51:07.400
Isn't it a pity that you're such a scatter brain.

375
00:51:07.599 --> 00:51:10.440
When you smile, it's so delightful. When you talk, it's

376
00:51:10.440 --> 00:51:15.079
so insane. Still it's charming, chatter scatter brain. I know

377
00:51:15.199 --> 00:51:18.360
I'll end up apoplectic, but there's nothing I can do.

378
00:51:18.480 --> 00:51:22.239
It's just the same as being in a hurricane. And

379
00:51:22.400 --> 00:51:25.039
though my life will be too hectic, I'm so much

380
00:51:25.079 --> 00:51:28.400
in love with you, nothing else can matter. You, my

381
00:51:28.559 --> 00:51:32.679
darling scatter brain. You as gay as New Year parties,

382
00:51:32.719 --> 00:51:36.159
and you're sweetest sugar king. But when you get serious,

383
00:51:36.199 --> 00:51:39.320
you're an awful scatter brain. When we dance, I think

384
00:51:39.360 --> 00:51:42.400
it's heaven till about the third refrain, Then you start

385
00:51:42.400 --> 00:51:46.679
that awful patter scatter brain. Perhaps I'm much too analytic, budd,

386
00:51:46.880 --> 00:51:49.840
I'm must well on tree. I try to understand your

387
00:51:49.880 --> 00:51:53.920
double talking vain. Yet, won't you please forgive your credit

388
00:51:54.039 --> 00:51:54.920
calls and much to.

389
00:51:55.039 --> 00:51:55.599
Mean to me?

390
00:51:56.480 --> 00:52:00.119
Nothing else can matter you, my darling scatter Brain, I.

391
00:52:19.199 --> 00:52:55.079
Don't give it.

392
00:52:57.079 --> 00:53:23.559
By We just listened to scatter Brain by Freddie Martin

393
00:53:23.679 --> 00:53:28.559
as orchestra vocal by Glenn Hughes, originally recorded by Bluebird

394
00:53:28.639 --> 00:53:33.199
Records in nineteen thirty nine, but here restored for the

395
00:53:33.280 --> 00:53:38.960
Reader's Digest album The Great Band Era. And as I

396
00:53:39.000 --> 00:53:41.280